Levan Mindiashvili has been making work about urban landscapes that inform our sense of identity and the intimate connections we make with the spaces we inhabit since 2012. In 2003 he graduated from Tbilisi State Academy of Arts (Republic of Georgia) and the same year started intensively exhibiting his works in Europe. From 2008 – 2012 he lived and worked in Buenos Aires, Argentina where he received his MFA from the National University of Art of Buenos Aires.
Mindiashvili’s new series, entitled Borderlines, is a study of his reflections on cities as both public and private meeting points. Originally conceived in Buenos Aires, this recent body of work explores the artist’s personal and collective experiences with the architecture and public structures of New York, where he is currently based. It is through his renderings of reflections amongst monumental objects, combined with a uniquely subjective reinterpretation of urban stimulation/inundation, that he reveals his complex and evolving personal relationship with the city.
The Lodge Gallery, founded by Keith Schweitzer and Jason Patrick Voegele, is located at 131 Chrystie Street on Manhattan’s Lower East Side. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation.
On Feb. 7, 1943, John Cage made his first New York public appearance at the Museum of Modern Art with a performance of percussion works that featured his wife, Xenia (whom he would divorce three years later), and Merce Cunningham (who would replace her as his life partner).
“I’d come from Chicago and was staying in the apartment of Peggy Guggenheim and Max Ernst,” Cage recounted later. “Peggy had agreed to pay for the transport of my percussion instruments from Chicago to New York, and I was to give a concert to open her gallery, The Art of This Century. Meanwhile, being young and ambitious, I had also arranged to give a concert at the Museum of Modern Art. When Peggy discovered that, she canceled not only the concert but also her willingness to pay for the transport of the instruments. When she gave me this information, I burst into tears. In the room next to mine at the back of the house, Marcel Duchamp was sitting in a rocking chair, smoking a cigar. He asked why I was crying, and I told him. He said virtually nothing, but his presence was such that I felt calmer.” read more
“There Will Never Be Silence: Scoring John Cage’s 4’33” ” runs through June 22 at the Museum of Modern Art; 212-708-9400, moma.org.
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